another generation of painters is embracing new technology

Result #1

another generation of painters is embracing new technology to make paintings that look like IKEA, the beauty of their craftsmanship and the quality of their execution becomes more apparent. At the same time, the more famous of the group, the late Frank Stella, has been showing at the gallery for years. He was one of the first artists to use the digital process, and his works have become icons of a digital era. While Stella was not included in this show, he remains a presence in the history of the 80s, and his influence can be seen in the works of both Stella and the other artists in the show.The show was divided into two parts: two new paintings by Stella, and two works that the artist made with his father, Robert Pincus-Witten. Stella had already been showing at the gallery for some time before the two new paintings were made, but he had not been exhibiting in this way since 1986. The paintings in this show are all about four feet tall, and they are made of painted canvas and wood, which Pincus-Witten has treated with a variety of textures and colors. The canvas is applied in a wet and dripping manner to the surface. The wood is also applied in a wet and dripping manner. The paintings are usually divided into two distinct layers, one a matte black surface and the other a glossy white one. They are never symmetrical, but are more like sections of a field. The surface is also applied in a variety of different textures, with the highest degree of variation occurring between the two sections. Some of the paintings are very rough, and the paint is applied in a variety of scumbled textures, such as maroon, ocher, and brown. In the paintings that have a more even surface, such as the ones in which the wood is more reflective, the texture of the paint is less evident.

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to intensify his ability to explore the psychological dimension of perception. But in the end, what is most striking about this show is the audacity of the artists vision and the courage of his desire to transcend the limits of his own medium. His latest paintings seem to have been made in a moment of desperate need; they are both elegant and open-ended, often humorous and often mournful. The paintings are not in the least autobiographical, but they are autobiographically rich, and they speak to the audience in a manner that is both intimate and expressive.Hans Haacke is a frequent contributor to Artforum.

Result #3

another generation of painters is embracing new technology in their work. The only work in the exhibition that was actually made using this new technology was a tiny digital projection of a giant tangle of wires that traced the outline of a giant cast of the artist as a doll. The work was itself a doll, but with a strange, garish glow emanating from its eyes and a certain robotic quality to its arms that made it resemble a hand. This doll-like quality was enhanced by the way the monitors were set up, in a way that suggested a live performance. The images and sounds were projected on two screens that looked like walls in an empty theater, and they were flanked on one side by a row of projection screens and on the other by a row of projection chairs. The idea of a live performance was a key element of the exhibition. The works were hung in a succession of configurations that suggested a stage on which the audience could move and which had a circular, glass-fronted room in which two projection screens appeared. At one end of the room was a projection screen with two projection screens on it, one showing a woman in a wheelchair; at the other, two projection screens with a circular, glass-fronted room in which a woman was shown sitting on a chair. The room was illuminated by two projection screens with a circular, glass-fronted room in which two projection screens appeared. In a small room that overlooked the projection screen, a man and a woman sat on a bench, facing each other. The man was wearing a black suit, and the woman was wearing a white dress, white gloves, and a black leather jacket. The two projected images of a man and woman were overlaid with a photograph of a woman, whom the man was sitting on the bench with. The two projections showed the two men in front of a mirror; the image of the viewer reflected in the mirror made it appear as if they were looking at themselves.

Result #4

another generation of painters is embracing new technology, and these artists are using the latest in the line of visual processing to express the relationship between nature and culture. Their work, like the culture it references, is always on the edge of actualization.The exhibition featured a wide variety of paintings and works on paper, but a few were more conspicuously represented by small-scale works. The most memorable of these was a small oil painting on canvas titled the sight of a stars-and-doves-in-the-sky-of-the-Earth, 2014, which was painted with a palette knife. The stars, a representation of the human hand, are already embedded in the oil, so that the hands careful placement of the brush is visible. The palette knife is a device that has been used in many of these paintings, most obviously in the paintings of José Miguel Alonzo, which show the artists brush almost as a gesture of surrender. In these paintings, the painters hand, in the most literal sense, has been replaced by technology, which has become a stylistic substitute. This is a method of painting that is very much part of the modernist tradition, but one that is in fact radically new: It is in part a response to the technologies of the past, and it is not bound to the past.In a recent work, entitled The Fall, 2014, the viewer was invited to look through the back of a large canvas, which was hung on the wall. The work consisted of a stack of large, flat, black-and-white photographs of a fall, taken from a photo album. The images were arranged in a sort of row, like the pages of a book, and the images were hung in a sequence, like a series of drawings. The small canvas was covered with a white, almost translucent layer of paint, and a metal rod was held in place by a nail; at the bottom of the stack of images, a couple of mirrors appeared.

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and, with it, a more open-ended, less doctrinaire approach to painting. As the work of both artists is based on a rather esoteric understanding of the mediums history, its also necessary to consider how this particular sensibility relates to current art practices. In light of this, it seems apt that, in an exhibition such as this one, the exhibition took place in a gallery whose walls were covered in a white cloth to resemble a house. The white cloth was an apparent nod to the spatial relationships and historical and cultural relationships of the walls of the gallery, but also a reminder that it is the space between the walls that is the real subject of the exhibition. It is through this relationship that we can see how the artist, the painter, and the viewer can experience the same relationship as the artist—through an exchange between the works and the walls.The white cloth also reflected the interplay of historical and contemporary art history, and it provided a means of reenacting the historical process of painting. For the exhibition, the curator, Brien Kamel, asked five artists—including one of the most celebrated and influential figures of his generation, the late American artist Mary Miss—to contribute to a catalogue of works that the curator has been assembling. The works are from the past decade, and were selected according to a theory that the work of each artist should correspond to the way in which the past was manifested in the present. This is a far more ambitious attempt than the same theory can ever be realized, but it does reveal the need for the kind of study and reflection that is necessary for such a work to be truly realized.